The Art of Wedding Filmmaking

Lesson 29 of 35

Color Correction Continued

The Art of Wedding Filmmaking

Lesson 29 of 35

Color Correction Continued

Lesson Info

Color Correction Continued

I thought I'd be good. Teo, look at how we can adjust what we need to in terms of color and exposure on making sure that it's all perfect and we're happy with it, so I've already think the footage it's all ready to go, the audio is there, the camera angles are there. I've gone against what I said, but that's fine, I've got the close up underneath that's, not a problem it's a very straightforward timeline it's to camera, we didn't shoot a lot that was just an exercise to demonstrate how we light the subject. So now that we've done that, we've got the footage here and we can assess it and see what we can do with grating and color correcting the color correction and color grading are two different things and color correction is fixing your mistakes. Color gray knees is creating a look field tio it's important you understand that that those two ah um very different I can't so this bar he I haven't used final cut ten, you're probably thinking what is that? That is a featuring final cut ten,...

which is called the storyline I basically liked too this is how I operate it works for me I don't like to have is what it does the idea of the storyline, the story thing is to keep it intact one but I I want to keep it I want to be able to cut through and everything I what I do is I get a lift from storyline click here and I go delete and it's free okay, so this is our main camera if I go he ve it just disables the main camera so I can have a look and that's a shot now the close up is a little bit dark it's a little bit dark here so we kind of just a few things there and cole looks pretty that's another thing you need to do is well is to match your your your color because if you're cutting from this to teo to the close up you know if you're coming from one shot to the next and they're like a different color temperatures then that's going to be a on issue off thiss continuity which is not good it's going to be a distraction for you viewer all right let's do this so look you know I'm actually pretty happy with that I'm actually pretty happy with that but you know we could do a few things to tweak this you know just to kind of give it more punch bit let's make it pop out a little bit more and it's improved the image so let's I would like to get some more real estate on dh or just that's this finds it goes then you just trying to find a way tio that's why okay all right all right that's fine we can all see that and that's also in that story line that thing would just lift it from the storyline so obviously I didn't talking there and I was explaining what I do and the lighting set up so wei don't wantto hear me hear enough threat three days it's ah move right for going down now another thing to mention to point out here is you make sure you use headphones because especially if you're relying on the audio that's coming out of these they speak is it's not going to be reliable right it's important to get really good headphones but then when you're monitoring at the end it's important to monitor when you've finished your your your piece it's important to have good speakers because that's how you going to deliver your film right you're going to deliver your film where the couple will be wearing headphones people going to be watching it through speakers right so it's important to get you know decent speakers you don't need to spend a lot of money on speakers but you know it's important to at least invest in something that is decent just chicken out like and you know maybe so you just come okay so she's about to speak there there's other things that may be that different and it's like I'm like what you're what you into rebecca I know what I'm doing here. I'm just finding that out that spot way, she's, just about teo right here. Now, as you can see here, this is not a multi can set up. I've opted for this because look, it's it's, very simple to cam it's, only three shots for the close up, one whole shot for the main camp, so I don't feel the need to do the multi cam thing that's just me and I'm going, I'm pressing command be teo, slice everything you see here, cut there. So basically I'm doing he's a needle that cut that you just got to be careful that when you do cut your when you do cut through and delayed the audio in the footage that you don't need is that you don't accidentally do this as well, that you delete that because it can happen if you're not precisely like if, you know, cutting right through okay, so lets you need to highlight the clip rights, and then it corresponds with the color correction that you're about to do and and all the grating, the first thing that you should be doing when you're looking at it. When you're doing like exposure correction and you're doing color correction as well, excuse me, you need to do explosion first right now, looking at that look, I'm pretty happy with it, right? But let's just do a few adjustments, right? So again you've got your dark so you've got your shadows you've got your midterms like your mid range and you've got your you white okay, now I'm looking at that and let me just see here and look at you and you're looking at your your lumet levels and look, I can see that look, I'm pretty happy with it and if you notice you're you're luna, you lumen levels between hundred zero they within that range okay, now you can see he um that's just doing a little bit on her face a little bit little bit hard on on on the left from the window, some just just adjusting their not too much and then I'm looking at the background I would like to lower just the background a little bit the what? Because I want the viewer to be drawn again. We're talking about story here we want the viewer to be drawn to to the speaker. Now phonic attends really neat because everything is there it's compact so I've got the color correction exposure as you can see it or in built click here and this is a mask to wear this mask to can isolate where you adjust your exposure or your color, so I'm gonna create a mosque again this is one way of doing it ok everything I'm about to do here it's very subjective in a sense that this is now I'm now being creative I think this will help to draw more and more attention to her when we watching because as you can see like the background does it's white it's quite bright and then you got her face so let's do something about that now this here this feature here see that that's the feather so you can kind of like spread it out a little bit they don't want to kind of do that because then that will affect teo facial expect expose expression on her face and just do it that and we'll go here I'll just delete that shall we get back? What I'll do is I'll create another another correction tab that I can work on so that's isolated and here I go creating the mask and the area that I want to lower and just control a bit I don't mind if it kind of it travels like it actually spreads into the couch I'm not that's that's fine just not on her face okay let's see how that looks okay now we're controlling the um the whites here that's that's that's too much of the way you want to do that you see the your blooming levels can go by that so that's two actually how it just goes off the charts so saying that the hundred kind of signifies the white and the whites the video wide and in the zero is that the video black so I'm just gonna that's still too much just a little bit okay, just lower that a little bit of swell so what you do is you just bank right that's that then we still got this part here so we can just create another mask so you go here create another one thank you will create another mosque I don't want to stage affect alter her thie expression on her face fairly happy with and I say what that does now what you do right just to kind of get a sense of the difference off what you what you had and what you've done be careful don't wantto bringing that he's everywhere here and I just threw that just you kind of make sure thing on this one so uh just come back all right? So I'm just gonna lift that a bit okay? And I could bring that further down rob bring that cross as cious little adjustments there and you know what? I could probably bring it in the bin hai really subtle but it just adds a little you know, its very subtle but it can add a little bit to your own image and I'll probably do one more just for the top here and click on there like a mosque so, again, I'm doing this for a particular reason I'm not just going on it's going to make me pretty, you know? I mean, I would like tio mean, obviously, you can avoid all this, you know, you can assess a you can cut the life, but sometimes, you know, when you're dealing with real people, not and non actors like the bride, well, you know what I mean, yeah, but when you're dealing with, for example, with you into being a bride, sometimes you just you need to weigh up, you know, getting the best shot in terms of exposure with, you know, the time that you take to set up and everything, sometimes you just need to draw the line, and you make sure that you're very close to what you need, and then after that, you can do everything else in post because they got things to do, and you and you don't speak unnecessary time and that that should that principle should apply to any other shoot that you do, I need to be very efficient, and no, you're now you limits treatments. I know there's very star types of treatments in hollywood cinema all the time do you ever get clients that come to you and say, like, there's a huge hipster movement that's in seattle and things were really, really vintage looking, and they want them to be gritty, and super eight is a big do you ever have clients come to you and say, hey, I want the finished product toe look, something like this, would that be something that you would do or would you educate and steer them away from that? I haven't had any real specific request, but I would if I do have a vintage start winning where it's a lot it's very rustic, they for example, they are getting married in a lumber mill, for example, right? And they using very old school kind of decorations and details, and I can just tell from the couple that they are very much in tune with that feel, then I will adjourn, I can show you can adjust the you can, you can alter that we could do something with color grading on free time, you can lower the saturation of it, you know, lower your color a little bid and do something there. So definitely, like you haven't had any specific request, but it's something that we can look into traditionally like that there isn't a lot of color grading in wedding films, as you probably noticed that that he's very much similar indy films, where they purposely, you know deliberately for example, certain scenes quite yellow and then certain scenes have a different look like for example, the godfather going back to the godfather had an arranged yellow tinge threat most of the film, but then there are other times when you know, when al pacino michael called me on was, you know, talking with his brother, that he backstabbed him and trade when against him and that move was very cold, you know, so there's different looks, but because it's a it's a winning that you need to be careful in terms of that you don't over do it because it's a rule life event, but there are ways that you can incorporate color grading, and we actually if you noticing in the sander and firearms film thie grooms, if you notice the groom's prep was a little bit on the cool side compared to the bride's prep, it was a little bit on the warm side it well, it was very subtle didn't feel the need to kind of at that time mention it, so I thought, I kind of mentioned now while we're doing color grating but way kind of opted, okay let's, just not so much, you know, bring back or make that kind of similar to the color of the bride, so then there's some sort of contrast separation between the bride and the groom but I was so you wouldn't get bored and make it super cold and blue because it's a wedding you know, its its should be a happy, happy occasion, but definitely like for example, like a rustic one you could do certain looks for that. So it's, what I do is you just kind of go away just this kind of see the range first and, you know, this is just the kind of blended in done and then looking at that, you know, I might have a bit of a bit of warmth to that yeah, um, you know, she was quite sure be right she's quite sure be so I want to kind of bring that home a little bit, so what I'll do is, oh, I wouldn't change these because these masks and I'm just going isolate I wanted just generally give a bit of a warm phil otherwise I look kind of weird, okay? So we've got that we go to color and again, you get your wide semi tones and you dogs, so looking at what you do see what happens these you've got the siri's of colors, a spectrum and this line he represents it divides basically where you up to go less or more, depending on what part of the plane you go so if I take if I want to hold you know looking at that line I'm gonna get back that looks doesn't look great get back to the mask and four was like looking at that when ever bought cool okay so let's just give this whole look this whole scene just a little bit warm right time it because if I'm interviewing the groom I could depending on obviously the story but that this could be an option so I'm this is just an example right then you can apply this accordingly to the story because it comes down to you knowing the couple and knowing what would fit best because color gray can be really powerful but if you do it incorrectly in a sense that it's not you're just doing it for the sake of it it will work against you because there's no there's no drive for it okay so take this because I'm doing overall obviously that's very godfather with that and I wanted to make a call sir I just this is just an overall just get back here and sank it well whatever then ruin it it's subtle yeah can you see that slight what you can do you could actually go back and you can adjust the white rabbit okay and then you just get back and just assess okay? Whatever I've done so I mean it just brings a little bit of warfare not too much though now I can't tell if that I mean, like I say it's really important to get a caliber wanted to because otherwise it could be maybe slightly towards green and I'm not sure, but the idea is the demonstration here is, you know, just a subtle you can incorporate a very subtle warmth in your grady look, this is very straightforward it's just a matter off doing it with with purpose, yeah, when you're when you're cutting a film because sometimes you want to just show that there's a difference between, you know, if they're cutting in, if you're coming from, like, for example, they might both tell the story about how they met and in a funny way it could be, like, very different s so you kind of like, maybe want to show one version through the color and and then the other version through his version like it may be slightly different, but she was quite obviously chippy, and I'll go for a makes him walking to that I think the same needs a little bit cool, okay, so that's that it's actually kind of referring back to here because he kind of looks a bit green and look over this again really important you get like, a proper screen, okay, so just isolating things and I'm looking at the close up, um, little bit look, it's not that that should be okay, but the thing is what you need to bury mine these you want toe match your arm, you keller the first thing I'll do is as I mentioned, easier exposure, so let's create a couple of these color correction tools and click on that and so you can see here with a loom are it's a little bit down so let's, just go and I'll feel before you humped over there final cut ex were you doing this kind of stuff and the last version of final cut? Because just on my experience, limited experience, color correcting on final cut, the last version of it, I just could see the color corrector three way that had the three color palette, and so I haven't really seen anything like this before. Is this new to final cut x r r how did you color corrected? Yeah, it's essentially pre much the same principle, but just in a different way I did the same thing, always using the three way color correct? Um, but it wasn't doing a lot of color is very basic just kind of making sure that, you know, balance the yellows and just making the skin tones look natural things like that I, to be honest, I didn't spend a little time in doing massive called color grating, so but it is similar like the principal that pretty much the same you're different colors in the spectrum like your blues and yellows and it's just a matter of balancing it depending on the image and that's that's three pretty much a three way correct are out works so first saying yeah I'm going to look at the exposure just give it a little bit of lift bit to contrast here and here that's going a little bit of lift okay backgrounds okay, I'm happy with that analysis color now final cut ten has this feature where you could actually match the color instantly now it doesn't always give you what you require but it is worth giving it a go I don't use it quite often but I'm just going to see how it works here okay so um go directly to the color corrector making sure my coast is there no highlight it and I go to my returns oprah one right hello because initially I had slightly blue it just needed a little bit of warmth it didn't need a massive change but just a little adjustment because it's important that your continuity is there especially coming from um you know it's the same it's the same speak up same subject this way obviously you know I don't hear you get up time quiet good reference point so can it you have a community elected guy talks a lot needs sorting out

Class Description

What’s the difference between a videographer and a true cinematographer? How can a single shooter successfully capture a complete wedding story? Join filmmaker Alfio Stuto for a three-day introduction to the wedding cinematographer’s mindset and toolbox. Alfio will cover everything you need to know about video storytelling, post-production workflow, attracting clients, and growing a business. You’ll learn how to choose the equipment right for you, from lenses to lighting equipment, and beyond. Alfio will share the one-of-a-kind techniques he’s developed over a decade of success as a cinematographer, including how to capture a live event through moving, evocative imagery that will last forever. By the end of this course, you’ll have the skills you need to tell a compelling, emotional story through video, with results your clients will love.